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“The Holy Terror: A Dark, Disturbing, and Brilliantly Layered Tale”

Robert Shearman’s Big Finish debut The Holy Terror is an unforgettable masterpiece that blends dark humour, horror, and heart-wrenching tragedy into one of the most original and emotionally powerful stories in Big Finish's catalogue. This Sixth Doctor and Frobisher adventure is as bizarre as it is profound, a tale that probes the darkest recesses of human guilt, faith, and the cyclical nature of trauma.

At its core, the story revolves around Eugene’s guilt over murdering his son and his subconscious creation of a castle and its inhabitants, locked in a repetitive cycle of imagined events. This revelation, saved for the climactic moments, recontextualises the entire story, delivering a heartbreaking conclusion that lingers long after the final scenes.

The setting—a surreal mediaeval kingdom defined by its rigid political and religious rituals—is richly atmospheric. Part 1 primarily introduces this world, focusing on courtly machinations and the absurdity of its god-emperor system. Shearman's knack for dark humour shines, keeping the tone light yet unsettling. The Doctor and Frobisher’s late arrival in the episode immediately upends the established dynamic, as Frobisher, a shape-shifting penguin, is mistaken for a god.

The narrative's darker undertones creep in during Part 2 as the Doctor begins to notice inconsistencies in this world. By Part 3, the story takes a chilling turn with the introduction of the disfigured child locked beneath the castle, destined to be the next messiah. From here, the story descends into chaos and horror. The child’s teleportation and ruthless murders turn this into a full-fledged nightmare, and the emotional stakes rise as the truth behind its existence is revealed.

The child is among Big Finish’s most effective antagonists. Its chilling voice, relentless violence, and the tragic nature of its creation make it simultaneously horrifying and pitiable. The sheer emotional weight of the child’s existence elevates the story into a harrowing exploration of guilt and trauma.

Frobisher, a comic-book companion brought to life by Robert Jezek, provides a stark contrast to the story's grim themes. His comedic moments and quirky personality offer a much-needed balance, and his dynamic with Colin Baker’s Sixth Doctor is a highlight. Frobisher’s unique nature—a talking penguin—is odd, but Shearman writes him with such charm and depth that he feels like a natural fit in the Doctor Who universe.

The supporting cast is equally strong, with standout performances from Sam Kelly as the beleaguered scribe, Stefan Atkinson as the spineless emperor Pepin, and Peter Soerbutts as the manipulative high priest Clovis. Each character is distinct and vital to the story, even as the narrative grows increasingly chaotic.

Despite the slower pace of the first half, the story’s dialogue and characterisation maintain a compelling sense of mystery. As the narrative unfolds, the escalating tension, horror, and emotional devastation culminate in one of the most haunting finales in Big Finish history.

The sound design and music deserve special mention, with mediaeval motifs adding to the oppressive atmosphere and the chilling sound effects of the child’s murders heightening the horror.

📝Verdict: 10/10

Utterly atmospheric, deeply unsettling, and emotionally shattering, The Holy Terror is an extraordinary achievement. Robert Shearman crafts a Doctor Who story that is as disturbing as it is profound, cementing its place as one of Big Finish’s finest productions. For fans of complex, dark, and emotionally driven storytelling, this is essential listening.